Steven Millar
Thereafter
Millar has described his work as exploring themes of intersection: of the built world, society,
and nature; home and community; memory and loss. In “Thereafter,” Millar maintains a
focus on the connection between memory and place, and the central ideas of time, longing,
and displacement. The work investigates commemoration and references various forms of
memorial markers – stones with metal plaques that honor a place, event, or vista.
Millar’s sculptures give tangible form to the evanescent experience of memory.
Marker seems to embody that which is past or lost. The sculpture’s sheet metal
skin, rough, weathered, and rusted, shows the traces of time and use. The form
resembles a decaying monument or a signpost without a message. Similarly
enigmatic, Artifact’s (cover image) sharply angular form suggests an upright
column, like a monolith or stele. Unlike typical stone markers, the sculpture
features no inscription or carved relief. Rather, inset inconspicuously into the
base of the pillar, a small pointing hand bears the message “Don’t Forget”. The
piece is a commemoration, though of what remains a mystery.
Marker 2014, plywood, wood, steel 71 1/4” h x 29” w x 24 1/2” d
Stump similarly incorporates a small decorative object. A lone tiny owl hangs
on a tree branch, merging with the dark textured surface of the polygonal form
to which it is affixed. Stump suggests a minor commemorative marker like a
gravestone, although the plaque-like shape on its front remains blank.
Stump 2015, plywood, plaster, paint, brass owl 28 1/2” h x 18 1/2” w x 16 3/4” d
Inscription takes Millar’s typical angular shapes further toward the realm of
fantasy. With a fluid loop sprouting from the base, the sculpture seems less
rock-like. The curving line alternately suggests a cartoon word bubble, a child’s
doodle of a tree, or perhaps a wholly abstract wiggle. While the contrast between line and volume, open and closed, and angular and curved could not be
clearer, the meaning of these juxtapositions remains just out of reach.
Inscription 2015, plywood, paint, 69 1/4” h x 45” w x 38 1/4” d
Smaller yet and more intimate, Crown merges an antique trophy and a sharpcornered rock-like form. Balanced atop the trophy, the rock seems less a tribute
or sign of grandeur, and more a strange weight or burden.
As a whole, the sculptures present an uncertain form of memento mori, memorialization
in which the object of commemoration remains unknown. While the marker remains, it
begins to lose its function as a record. In the end, one feels that these sculptures bear
witness to a more universalized state of absence and loss.
Crown 2015, plywood, wood, steel, plaster, cement, copper and pewter trophy 23 1/4” h x 11” w x 8” d
Temporary Monuments, Millar’s grid of twenty photographs, conveys a sense of
mystery as well. Although out of focus and at times almost unrecognizable,
the images show forms similar to those in Millar’s sculptures. The images in
fact document small sculptures that the artist carves while traveling. While
the carvings themselves are discarded, the photographs serve as a record of
the time of their creation. The images capture not the details of the forms, but
rather the brevity of their lifespan.
Temporary Monuments 2015, suite of twenty framed archival inkjet prints
each 14 1/4” h x 11 1/4” w, grid 63” h x 64 1/4” w
Although directly referencing an individual, Millar’s artist’s book, Reliquary, is
no less evocative. The book is dedicated to the artist’s maternal grandfather, an
amateur lepidopterist who died shortly before the artist was born. Lyrical and
suffused with gentleness, the book acts as a memorial to a life that the artist
knew only secondhand through stories, photographs, and objects left behind.
The book is divided into twelve chapters whose titles suggest the passage of
time. Within this chronological format, Reliquary presents thirty-three images
of the thin papers in which butterflies were once pressed. The images themselves offer fleeting glimpses of beauty. While created naturally, the faint
imprints seem like miraculous apparitions. As a whole, the book addresses
questions of mortality and transcendence.
Reliquary 2015, letterpress, archival inkjet prints, and collage on Japanese and German papers,
hand - bound in Japanese paper, buckram covered box
In addition, the exhibit will present several small photographs which serve as
extensions of Millar’s sculptural pieces. Depicting a pile of small stones, Mound
sets the mood for the entire exhibition in its dark tone.
Mound 2015, archival inkjet print 9 1/2” h x 12 1/2” w
The small photograph English Monument documents a distinctive wall in London that served as partial inspiration for Millar’s Inscription sculpture.
English Monument 2015, archival inkjet print 8 3/4” h x 7” w
Finally, Marriage Reliquary originated with Millar’s Artifact; the photograph
depicts two small hands similar to the “Don’t Forget” note holder of the
sculpture. Like that piece, the photograph references shaped body-part reliquaries. Created as containers for holy remains, these reliquaries took the
form of their relics and were believed to have healing and other powers. In
Millar’s photograph, the stark setting and simple arrangement impart an other
worldly power to these mass-produced ceramic figurines.
Marriage Reliquary 2015, archival inkjet print image 10 ” h x 6 3/4” w framed 11 1/8” h x 7 3/4” w
Steven Millar received his MFA in painting from Washington University,
St. Louis, MO and his BA in Art from Yale University, New Haven, CT.
Millar has exhibited at many venues including Gallery Geranmayeh,
Robert Henry Contemporary, IPCNY, Lehman College, Socrates Sculpture Park, the Dorsky Gallery, and Wave Hill. He has also participated
in other national exhibition venues such as the Untitled art fair (FL),
Silicon Valley Art Fair (CA), the Katonah Museum of Art (NY), Artspace
(CT), Vox Populi (PA), and the Islip Art Museum (NY). His work can be
seen at www.sdmillar.com and www.gallerygeranmayeh.com
Cover image: Artifact 2015, plywood, plaster, ceramic hand 49” h x 24 1/4” w x 24 1/2” d
gallery
geranmayeh
956 Madison Ave . 3R . New York, NY 10021 www.gallerygeranmayeh.com
Tell . 212.861.6700 Email . [email protected]
3/2015